vigor not to be found in some of his subsequent works, even when
more elaborate, finished, and richer in combinations; a vigor,
which is entirely lost in his latest productions, marked by an
over-excited sensibility, a morbid irritability, and giving
painful intimations of his own state of suffering and exhaustion.

If it were our intention to discuss the development of Piano
music in the language of the Schools, we would dissect his
magnificent pages, which afford so rich a field for scientific
observation. We would, in the first place, analyze his Nocturnes,
Ballades, Impromptus, Scherzos, which are full of refinements of
harmony never heard before; bold, and of startling originality.
We would also examine his Polonaises, Mazourkas, Waltzes and
Boleros. But this is not the time or place for such a study,
which would be interesting only to the adepts in Counterpoint and
Thoroughbass.

It is the feeling which overflows in all his works, which has
rendered them known and popular; feeling of a character eminently
romantic, subjective individual, peculiar to their author, yet
awakening immediate sympathy; appealing not alone to the heart of
that country indebted to him for yet one glory more, but to all
who can be touched by the misfortunes of exile, or moved by the
tenderness of love. Not content with success in the field in
which he was free to design, with such perfect grace, the
contours chosen by himself, Chopin also wished to fetter his
ideal thoughts with classic chains. His Concertos and Sonatas are
beautiful indeed, but we may discern in them more effort than
inspiration. His creative genius was imperious, fantastic and
impulsive. His beauties were only manifested fully in entire